Synopsis
A French silent film serial which follows the exploits of the archvillain Fantômas, who commits crimes while eluding Inspector Juve's tireless persecution.
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Fantômas
Cast
Director
Producer
Writer
Original Writers
Editor
Cinematography
Production Design
Composer
Studio
Country
Language
Alternative Titles
Fantomas - A la sombra de la guillotina, Fantomas, Fantomas: Giljotiinin varjossa, Fantomas I: Im Schatten der Guillotine, ファントマ「第1話ファントマ／ベルタム事件」, Фантомас, человек для гильотины, Fantómas a la sombra de la guillotina, Fantoma, Фантомас, Fantômas: In the Shadow of the Guillotine, The Phantom Crook, Fantomas: The Beltham Mystery, Fantômas - À l'ombre de la guillotine, Fantômas 1: In the Shadow of the Guillotine, Fantômas 1 : À l'ombre de la guillotine, Fantomas 3: Kuollut mies tappaa, Fantomas 5: Valetuomari, Fantomas 1: Giljotiinin varjossa, Fantomas 1: a la sombra de la guillotina, Fantômas 5 - Der falsche Ermittler, Fantômas 3 - Der mörderische Leichnam, Fantômas 1 - Im Schatten der Guillotine, Fantômas 4 - Fantômas gegen Fantômas, Fantômas 2 - Juve gegen Fantômas, Fantomas 2: Juve contra Fantomas, Fantomas 4: Fantomas contra Fantomas, Fantomas 3: el muerto que mata, Fantomas 5: el magistrado ladrón, Fantomas 4: Fantomas vastaan Fantomas, Fantomas 2: Juve vastaan Fantomas, Fantômas 3: The Dead Man Who Killed, Fantômas 4: Fantômas Against Fantômas, Fantômas 2: The Man in Black, Fantômas 5: The False Magistrate, Fantômas 2: Juve Against Fantômas, Fantômas 4 : Fantômas contre Fantômas, Fantômas 2 : Juve contre Fantômas, Fantômas 3 : Le Mort qui tue, Fantômas 5 : Le Faux Magistrat, 方托马斯
Releases by Date
Theatrical
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France
12 Sep 1913
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France
28 Nov 1913
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France
13 Mar 1914
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France
27 Apr 1914
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France
Releases by Country
France
09 May 1913
- Theatrical Fantômas 1
12 Sep 1913
- Theatrical Fantômas 2
28 Nov 1913
- Theatrical Fantômas 3
13 Mar 1914
- Theatrical Fantômas 4
27 Apr 1914
- Theatrical Fantômas 5
Popular reviews
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AS SERPENTES E O CADUCEU
por Alain Resnais
Deve-se falar de realismo poético? A expressão, afinal, poderia ser aplicada a homens tão diferentes como Clair, Carné, Epstein, Becker, Vigo, Perret, Grémillon, Tati, Feuillade, Delluc. Tenho grande admiração por Renoir – e especialmente por Toni (1934-1935), A noite da encruzilhada (La nuit du carrefour, 1932) ou Madame Bovary (1933-1934). E, além disso, há A regra do jogo (La règle du jeu, 1939), juntamente com A idade do ouro (L’âge d’or, Luis Buñuel, 1930) um dos dois pilares do cinema francês. Hoje, talvez, exista uma tendência exagerada de criar parentesco entre as imagens do cineasta e as telas do pintor, seu pai. Houve exagero ao ver-se sempre um reflexo do impressionismo. Nada… -
Directed by prolific French filmmaker Louis Feuillad, a pioneering director from the silent era, and based on material on the popular pulp novels of Marcel Allain and Pierre Souvestre, Fantômas is a silent crime serial comprising five episodes initially released throughout 1913-14. Taken as a whole, the five feature films, each an hour to an hour and a half in length, observes Feuillade forging a five and a half hour epic that is a remarkable and influential achievement. Throughout the films, he displays confidence despite the limitations of the silent form; driving him to develop sophisticated and distinctively visual means of storytelling while demonstrating proficiency for suspense.
The story follows Fantômas (René Navarre), a genius of disguise and general criminal…
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i have so much to say about this but idk if i have the vocabulary to do it
Feuillade is a master director, his work here is so lowkey and so minimal that it is really easy to overlook the sophistication of his direction and composition. Right from the first episode I was hooked but I think it wasn’t until the third that it really hit me. He knows exactly what you are and aren’t looking at during every shot and he uses this knowledge against you. It is absolutely genius and once I came to this realization I was completely entranced by every single frame. Mannnn idek what to say maybe I will try to actually write something cohesive next time I watch this
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There used to exist entries for each episode of the "Fantômas" serial, but now they don't exist anymore. I was going to update some thoughts on episode 5, but since there is no longer an entry for that, I will just write my thoughts on the serial as a whole.
First of all, this is so much fun! Who says silent films can't be exciting? Especially when concerning those from the 1910's, people may have a hard time watching them, but I've had fun with Louis Feuillade's other great work "Les Vampires" or even with more dramatic works like D. W. Griffith's "Intolerance".
"Fantômas" takes the tradition of the great fights between good and evil, therefore giving us a hero…
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This review may contain spoilers.
F for Fantômas / The House That Feuillade Built
More than a showcase of technical innovation, the instances where the titular bandit looks at the viewer from across the other side of the screen as he frantically plots his next move affirm that there is no "Fantômas" but the one we create through iconography. Almost all of the episodes begin with the brief profiling of his personas, characters whose skins he would spend more time being in than his own, turning himself into a nondescript but an invisible threat impossible to stop by the end. It is fitting, then, that the final entry of the serial is called The False Magistrate because he has no…
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the blueprint for Literally Everything. one of the greatest formal achievements of all time, from its blocking to its composition. similar to eisenstein in how it’s form being archaic makes it all the more revolutionary. so playful both in its characterization/story and how it’s constructed. maybe the most important work in cinema history. society will continue to tremble.
sorry to be annoying and sentimental but this is my 1500th log!! i’m unimaginably thankful for everyone i’ve met on here and the people i’ve been able to connect to both on and off the platform. i genuinely don’t think i’d be here without the films and people i’ve been introduced to on this site. i love you all so fucking much!!!!!!!! happy holidays, and watch out for fantômas!
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feuillade was able to transfer some of literature's power into cinema with fantômas, but the scars of that journey are very visible -- compared to the fully original les vampires, fantômas has at least 50% more intertitles and depends on them much more to explain the action; befitting a pulp adaptation, they're highly stylized and fun, but the momentum of the story gets lost amidst the regular procession of text, and the suggestion of ominous powers is ambiguous rather than truly mysterious. the skeletal groundwork for feuillade's later genius is here, but would only be able to bloom with an original story which was specifically designed for the cinema -- over 100 years since this, and there are still films…
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Incredibly impressive feat of early cinema. For nearly six hours, director Louis Feuillade keeps the narrative moving at a brisk pace, creating and solving storytelling problems like a mastermind. Dotted throughout its epic running length are numerous indelible moments: a wall that bleeds, a tragic train crash, gloves made from human skin, and a murder in a bell tower that rivals the one in VERTIGO. And which, incidentally, is one of the greatest sequences in all of silent film.
The endless disguises, heists, chases, murders, jailbreaks, and blackmails are the ground upon which most of today's summer blockbusters still stand. Although its final episode is strangely anticlimactic, it still manages to conclude satisfactorily, for it opts to end with a situation that feels profoundly existential.
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I can't think of a director who brings forth a decisive moment, a hazy but unmistakable turning point, as well as Feuillade, who disrupts his procession of stable (but endlessly dynamic) frames with just the slightest pan. The smallest gestures from actors speak volumes.
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That ending fucking rocks 😭
This is EXACTLY what I wanted from Les Vampires. It's a thrilling detective story, has an awesome villain, and insane set pieces.
So excited to finish this trilogy. I really hope Judex holds up to this one!
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In the land of disguises, every physical manifestation might be an illusion. Feuillade’s static compositions induce our gaze to search for each detail in the frame, our attention being frequently taken by a curtain or a door or a wall angle or a painting or a lamp or even an alley or a passerby or a car or a building or the sky. One leaves this film doubting their own eyes.